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 example, the flaxen, kindly beauty of the Dutch type, the dusky Jewess, the tall, fair Scandinavian, the dark and brilliant south Italian, the noble Roman, the dainty Japanese—to name no others. Each of these types has its peculiar and incommensurable points, and within the limits of each type you will find a hundred divergent, almost unanalysable, styles, a beauty of expression, a beauty of carriage, a beauty of reflection, a beauty of repose, arising each from a quite peculiar proportion of parts and qualities, and having no definable relation at all to any of the others. If we were to imagine a human appearance as made up of certain elements, a, b, c, d, e, f, etc., then we might suppose that beauty in one case was attained by a certain high development of a and f, in another by a certain fineness of c and d, in another by a delightfully subtle ratio of f and b.

might all, for example, represent different types of beauty. Beauty is neither a simple nor a constant thing; it is attainable through a variety of combinations, just as the number 500 can be got by adding or multiplying together a great variety of numerical arrangements. Two long numerical formulæ might both simplify out to 500, but half the length of one truncated and put end on to the truncated end of the other, might give a very different result. It is quite conceivable that you might select and wed together all the most beautiful people in the world and find